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Virginia Commonwealth University VCU Scholars Compass Undergraduate Research Posters Undergraduate Research Opportunities Program 2015 Queer-baiting on the BBC’s Sherlock: Addressing the Invalidation of Queer Experience through Online Fan Fiction Communities Cassidy Sheehan Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/uresposters Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Other Film and Media Studies Commons © The Author(s) Downloaded from Sheehan, Cassidy, "Queer-baiting on the BBC’s Sherlock: Addressing the Invalidation of Queer Experience through Online Fan Fiction Communities" (2015). Undergraduate Research Posters. Poster 122. https://scholarscompass.vcu.edu/uresposters/122 This Book is brought to you for free and open access by the Undergraduate Research Opportunities Program at VCU Scholars Compass. It has been accepted for inclusion in Undergraduate Research Posters by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Queer-baiting on the BBC’s Sherlock Addressing the Invalidation of Queer Identities through Online Fan Fiction Communities by Cassidy Sheehan SHERLOCK: “I need to get some air. We’re going out tonight.” What is Queer-baiting? JOHN: “Actually, I’ve, uh…got a date.” Reifying through Fan Fiction SHERLOCK: “What?” Queer-baiting, a sometimes unintentional tactic used to spice up a JOHN: “It’s where two people who like each other In the safe spaces provided by online communities, queer Sherlock fans go out and have fun.” can validate their identities, subvert heterosexual norms, and engage in plotline or attract viewers from a certain demographic, occurs SHERLOCK: “That’s what I was suggesting.” JOHN: (pauses) “No, it wasn’t. At least, I hope queer activism. when media producers create a not.” 7 homoerotic subtext between From “13, 19, 38” by InnocuousPilcrow From “I Thought Wrong” by hellafab MRS. HUDSON: “What do you think then, Dr. • Sherlock gasped quietly, feeling his breath two characters within a Watson? There’s another bedroom upstairs, if • John had figured in his hungover haze speed up a bit, suddenly a bit panicky. Was narrative with no intention of you’ll be needing two bedrooms. the next morning that it had been JOHN: “Of course we’ll be needing two…” he gay? No, he couldn’t be. He didn’t really nothing but a drunken mistake and actualizing that subtext. MRS. HUDSON: “Oh, don’t worry, there’s all sorts want to sleep with anyone. That made tried to forget the tingling feeling at the round here. Mrs. Turner, next door’s, got married him—what? Not gay, anyway. Definitely not However, even if writers have ones.” 8 pit of his stomach whenever the gay. good intentions, queer-baiting • He hid his head in his hands, warm tears memory drifted subtly into his thoughts…He wasn’t gay. He knew this, is harmful to members of the ANGELO: “Sherlock, anything on the menu, pricking his eyes. What was he going to do? queer community. whatever you want, free, on the house, for you, and He was already hated at school, an outcast he was certain of it, but then again... for your date.” that no one talked to, except to make fun he’d really only dated women. SHERLOCK : (to John) “Do you want to eat?” of. If anyone found out, it would just be JOHN: “I’m not his date.” From “Homophobia” by … one more bullet in their huge arsenal of ANGELO: “I’ll get a candle for the table. It’s more ways to torture the freak. achievableformofflight romantic.” • Victor pulled away, his hands coming up to • Thanks for this chapter to … all of you 9 Queer-baiting on Sherlock JOHN: “I’m not his date!” roughly shove Sherlock’s shoulders into the who messaged me to tell me your IRENE: “You jealous?” back of the sofa, and he was standing, stories. I was and still am speechless at The show—created and written by Mark Gatiss and Steven Moffat JOHN: “We’re not a couple.” moving to the other side of the room, IRENE: “Yes, you are.” your honesty and your incredible and starring Benedict Cumberbatch as Sherlock Holmes and Martin JOHN: “Who the hell knows about Sherlock wiping his mouth on the back of his bravery in the face of things that are Freeman as John Watson—is a modern-day reimagining of the Holmes, but, for the record, anyone out there who hand…“And you thought I was queer too? entirely more real than anything that still cares, I’m not actually gay!” 10 Why the fuck would you think that? With all happens in this 'verse [fictional classic Sherlock Homes detective stories by Sir Arthur Conan Doyle. your stupid fucking deductions, you Contradictory statements from actors and showrunners as well as couldn’t have figured out that I think universe], and infinitely more terrifying fucking homos are fucking disgusting?” for it. examples from the show itself are evidence of queer-baiting. • Steven Moffat : states “I don’t think there is anything that suggests Sherlock is gay” and “agree[s] that he always wanted to Queer Identity Development Conclusion play on the confusion of Holmes and Watson's relationship and never intended to confirm either character's sexuality.” 1 A Psychological Process Although not much can be done about the perpetuation of harmful • Mark Gatiss: says the writers have “had lots of fun with the In order to undergo “healthy human development,” queer norms on Sherlock, fandom plays a role in creating safe spaces online notion that, in the 21st century, people naturally assume they’re individuals find sources to mirror and validate their identities.11 where queer individuals can explore their identities through slash fan fiction and find support and validation in [Sherlock and John] a couple.” 2 When lacking other sources, media such as television may be used. fellow fan fiction readers and writers. It’s • Martin Freeman: calls Sherlock “the gayest story in the history of According to Henry Jenkins, “fans construct their cultural and social crucial that these communities continue television.” 3 identities through borrowing and inflecting mass culture images. 12 to grow and flourish so that all individuals • Benedict Cumberbatch: blames jokes in the script which “fuel the The Dangers of Invalidation may experience the positive development fantasy of the few into flames for the many.” 4 Television shows such as Sherlock embody heterosexual norms which and validation that come with • Cumberbatch and Freeman: “feed the hype surrounding their are internalized by audiences.13 These norms are impossible for participating in online fandom. characters' bromance by teasing there was a scene filmed in a gay queer viewers to rectify with their lived experiences and so invalidate club from Watson's stag party that was cut from series three.” 5 these fans identities. This conflict may result in inhibition, self-doubt, depression, rage, despair, and low self-esteem. 14 Works Cited “The Blind Banker.” Sherlock. BBC. 1 Aug. 2010. Netflix.com. Web. 9 Apr. 2014. Addressing Invalidation Online Collier, Noelle R., Christine A. Lumadue, and H. Ray Wooten. “Buffy the Vampire Slayer and Xena: Warrior Princess: Reception of the Texts by a Sample of Lesbian Fans and Web Site Users.” Journal of Homosexuality 56.5 (2009): 575-608. Taylor & Francis Online. Web. 13 Feb. 2014. Characterizing the relationship Fans are able to explore and develop their identities similarly in both Cooper, Margaret. “Lesbians Who Are Married to Men: Identity, Collective Stories, and the Internet Online Community.” LGBT Identity and Online New Media. Ed. Christopher Pullen and Margaret Cooper. New York: Routledge, 2010. 75-86. Print. between John and Sherlock as 15 Crowley, Joanna. “Benedict Cumberbatch and Martin Freeman Tease Sherlock Gay Scene.” Entertainmentwise.com. Giant Digital. 5 Feb. 2014. Web. 21 Apr. 2014. online fan fiction communities and online queer communities. The Gair, Susan R. “The False Self, Shame, and the Challenge of Self-Cohesion.” Lesbians and Psychoanalysis: Revolutions in Theory and Practice. Ed. Judith M. Glassgold and merely platonic ignores Suzanne Iasenza. New York: The Free Press, 1995. 107-123. Print. settings’ structure allows safe spaces for queer individuals to flourish. “Homophobia.” Fanfiction.net. Fanfiction.net. 3 Aug. 2012. Web. 17 Apr. 2014. 6 “I Thought Wrong.” Archive of Our Own. Organization for Transformative Works. 17 Sep. 2012. Web. 30 Apr. 2014. narrative cues. The concept Jenkins, Henry. Textual Poachers: Television Fans and Participatory Culture. 1992. Essay. Suzanne Scott. New York: Routledge, 2013. Print. of a “bromance” also denies New members New members Parrish, Juli J. Inventing a Universe: Reading and Writing Internet Fan Fiction. Diss. University of Pittsburgh, 2007. ProQuest, Web. 26 Jan. 2014. “Experienced “Less experienced extend advice talk about “A Scandal in Belgravia.” Sherlock. BBC. 1 Jan 2012. Netflix.com. Web. 12 Apr. 2014. writers…actively writers… invited and share struggle of Sperling, Daniel. “Cumberbatch, Moffat: ‘Sherlock’s Not Gay’.” Digital Spy. Hearst Magazines. 24 Jul. 2010. Web. 30 Apr. 2014. queer possibility by insisting “A Study in Pink.” Sherlock. BBC. 25 Jul. 2010. Netflix.com. Web. 9 Apr. 2014. foster new to do… critical experience with coming to writers” work” “13, 19, 38.” Archive of our Own. Organization for Transformative Works. 28 Apr. 2014. Web. 29 Apr. 2014. that two men who are even newer terms with “Why It’s Not a ‘Bromance’.” I Won a BAFTA. Tumblr. 17 Apr. 2014. Web. 21 Apr. 2014. members identity Wightman, Catriona. “Martin Freeman: ‘Sherlock Is the Gayest Story Ever’.” Digital Spy. Hearst Magazines. 23 May 2011. Web. 21 Apr. 2014. emotionally intimate remain Wilson, Benji. “Watching the Detective, Sherlock Holmes, on Television.” Theaustralian.com.au. The Sunday Times, 11 Feb. 2012. Web. 28 Apr.
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